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ANDRES

Andrés a renowned DJ and producer from Detroit, is celebrated for his eclectic blend of house, hip-hop, Latin, and soul. GT Flips series showcases his ability to transform classic tracks into head-nodding bangers..

New Volumes 4, 5 & 6.

TRACK LISTING

A1. She Spoke To Me
B1. Head Over Heels
B2. Spoof

New Natural Sciences from Andre Uhl melding dark ambient and early industrial. Recorded on the edge of Berlin in a semi-deserted building complex formerly used by the East German Sociality party, André Uhl's debut on the label taps into the spectral frequencies of the space and the ritual practices of recording.

Created in isolation amongst this decaying structure and surrounded by lakes, dense forestry and the sounds of boars and unknown wildlife outside, Every Step Causes a Crack is a title that reflects Andrés connection to the environment around him and the death or glory stance of the artist, with field recordings, electric doom synthesis and lurching drum tracks temporarily fracturing the darkness before being pulled back through the void.

Limited vinyl release of 150 copies.

STAFF COMMENTS

Matt says: A rather tense and, in parts, frankly quite scary exercise in slow, tectonic electronics and foreboding industrial atmospheres. A splendid example of the Natural Science remit, executed by this Berlin based artist.

TRACK LISTING

A1. Every Step Causes A Crack
A2. Monitor View
A3. Fly High
A4. Do You Have What It Takes
A5. Faking It The Whole Time
A6. Batman
B1. Always Forward
B2. Hellsbells
B3. When It Comes, We'll See It Coming
B4. You're Fading Away
B5. Out Of Town

John Dwyer + Heather Lockie, Thomas Dolas, Kyp Malone, Andres Renteria, Brad Caulkins & Archie Carey

Ritual / Habit / Ceremony

    The band is John Dwyer (synths, vocals), Heather Lockie (viola), Thomas Dolas (synths), Andres Renteria (hand percussion), Brad Caulkins (tenor saxophone), Kyp Malone (synths) and Archie Carey (bassoon). The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TV On The Radio, Rain Machine etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO, AZITA).

    For fans of Steve Roach, Eno, Syrinx, Howard Shore, Current 93, Terry Riley, Tangerine Dream and a proper sage scrub.

    “An experiment in symphonic improvisation paired with synthesizerscapes. Strings, reeds, synths and hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board I knew we were going to be OK. Recorded and mixed at my home studio (Stu-Stu-Studio in Los Angeles) and remotely, this one was a slow burn to see the light of day. And here it is in its final crystal form. Celebrating the spaces between ritual, habit and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daily ritual, contemplation and meditation.” - John Dwyer.

    TRACK LISTING

    1. What Do (YoshimiO)
    2. Ruths Mouth (Albert Wolski)
    3. For Those Who Don’t Get Anything (Gracie Jackson)
    4. Memory Mirror Floweth Over (Ciriza)
    5. Sound The Unknown (Kyp Malone)
    6. Azazel (Brigid Dawson)
    7. Debris In The Sky (Azita)

    Sufjan Stevens, Timo Andres, & Conor Hanick

    Reflections

      Composer, multi-instrumentalist and singer/songwriter Sufjan Stevens announces the album Reflections, a studio recording of his score for the ballet by choreographer Justin Peck, performed by pianists Timo Andres and Conor Hanick. 

      Reflections was originally commissioned by Houston Ballet to accompany choreography by Peck and premiered March 21, 2019. Written for two pianos and eleven dancers, Reflections marks the sixth collaboration between Stevens and Peck, following Year of the Rabbit (2012); Everywhere We Go (2014); In the Countenance of Kings (2016); The Decalogue (2017); and Principia (2019).

      The studio recording was engineered, mixed and mastered by Ryan Streber at Oktaven Studios. Reflections is characteristic Stevens: dynamic, melodic, memorable, emotionally resonant and playful (one track is titled “And I Shall Come To You Like A Stormtrooper in Drag Serving Imperial Realness”). It is about “energy, light and duality,” Stevens says. “I’m constantly thinking about bodies moving through space when I’m writing for ballet — that is what has informed this music, first and foremost.”

      This is Stevens’ second recorded release of his compositions for piano—following The Decalogue in 2019—and his first written for two pianos. There is a long tradition of composing for duo pianos—from John Adams’ “Hallelujah Junction” to Mozart’s Sonata for Two Pianos in D Major—and Stevens was happy to further explore the form. “Although I've never taken a lesson,” he says, “the piano was my first true love. Having two of them at my disposal was an exciting opportunity and gave me a real catharsis about the expansiveness of the instrument.”

      Self-taught as both a pianist and a composer, Stevens’ first instrument was the oboe, which he started playing in 5th grade. He played in orchestras from high school through college and listened voraciously to recordings of classical music alongside pop radio. But Stevens would often take breaks from the oboe by improvising on the piano, working out music he had heard in passing — pieces by Chopin, Rachmaninov and Bach. “I learned by ear, in a very rudimentary way, inspired by a wide range of music,” he says. “A lot of the work that I compose is anachronistic as it doesn't follow a genealogy of aesthetic. It can be a cornucopia of styles.” That's the case with Reflections, where listeners may detect a hint of Debussy, Stravinsky, Philip Glass and even Bruce Hornsby.

      TRACK LISTING

      1. Ekstasis
      2. Revanche
      3. Euphoros
      4. Mnemosyne
      5. Rodinia
      6. Reflexion
      7. And I Shall Come To You Like A Stormtrooper In Drag Serving Imperial Realness

      Alongside a brand new edits 12", Detroit superstar Andres drops a new EP for Beretta Music. Four. lush. deep house joints with his smooth signature drum loops and gloriously incidental melodies. Opener "Back In My Space" sets the scene beautifully with his casually swung drums creating a groove so delicious yet so effortless! The slower, funkier bounce of "Back To Nature" is also a particular highlight, while Airport Society aka Detroit duo of Brian Kage and Ryan Sadorus (who founded the label BerettaMusic) deliver an electrified remix of “Back in My Space”, accentuating the soulful elements, retaining the swing but switching up the sounds to suit their own unique, late night palette. 

      All tracks possess a speaker-tweakin' warmth, with all elements mixed to perfection and the bass frequencies sitting particularly nice. Mega stuff as per usual with Dez; who should probably be awarded some kind of award for his services to Akai's MPC sampler...  Highly recommended import copies that won't hang around long.

      STAFF COMMENTS

      Matt says: Andres doin' what he does best - loose limbed, funky MPC jams brimming with summer soul! BBQ tackle SORTED.

      TRACK LISTING

      A1. Back In My Space
      A2. Don’t Be Fooled
      B1. Back In My Space (Airport Society Remix)
      B2. Back To Nature

      John Dwyer, Ryan Sawyer, Andres Renteria

      Posh Swat

        Posh Swat, an all percussion improvisation album with John Dwyer, Ryan Sawyer & Andres Renteria. Trap kit, Hand percussion, homemade percussion instruments and electronic percussion over flow here with extra weirdness. Sick pop rhythms grinding thru the wasteland. Sand in your hair and bugs in your teeth. Hand on your knife, knife in your sheath. Grimy bass burps thru a fried stack. And the crack of the snare is a mighty pink smack. Bells, whistles conga and vibes. This is a drug record. One thousand times.

        For fans of Niagra, Black Pus, Container, Bruce Ditmas and all things beat driven and drum craven. 

        STAFF COMMENTS

        Barry says: You never expect John Dwyer to stay still for too long, but I really didn't expect his foray with Ryan Sawyer & Andres Renteria to be quite this *drummy*. It's a beautifully expressive and brilliantly organic sounding suite of rhythms punctuated with incidental synth stabs and jagged groove. Unsurprisingly inventive and unique.

        TRACK LISTING

        Intro
        The Spent Sadist
        Chit Chat
        Scavenger
        Red Clay Wall
        Dungeon Crawler
        Bug City
        The Sythe Is Remorseless
        Bricked Rune
        Scatter
        The Hostile Womb
        More Will Be Revealed

        Dames Brown Feat. Andres & Amp Fiddler

        What Would You Do? - Inc. Folamour Remix

        Epitomizing the very best of their hometown’s unparalleled musical heritage, Detroit’s Dames Brown are the vocal trio you may not yet know by name but are sure to know by voice. Lending their exquisite range to a number of modern house essentials, including Sophie Lloyd’s ‘Calling Out’, The Vision featuring Andreya Triana ‘Heaven’ and David Penn’s ‘Nobody’ in recent years, Athena Johnson, Teresa Marbury and LaRae Starr now release ‘What Would You Do?’ on a limited 7” package. Produced by long-time collaborator of the group and fellow Motor City native Amp Fiddler and Mahogani Music regular Andrés, this slick, funk-filled and typically soulful vinyl release features the exceptional original version as well as Lyon house superstar Folamour’s remix, with his signature groove a perfect match for the Dames mesmerizing vocal. Don’t sleep!

        STAFF COMMENTS

        Matt says: Massive massive massive! Andres and Amp Fiddler on production! Bumps hard, kicks like a mule. With a bassline that'll cause ceilings to collapse.

        TRACK LISTING

        A. What Would You Do?
        B. What Would You Do? (Folamour Remix)

        Cult label Acido returns with more of that spiritual electronic vibration. Written and produced by drummer and curator Andres Lõo from Tallin, Estonia...it could be quite easily be from Detroit particularly seems to reference James Stinton's The Other People Place alias.

        Side A's "Synaptic Sugar" is bright and with a bassline so rubbery it practically bounces off the wax! Neat, crisp percussion keeps the rest of the elements on track; but you can sense the restrain and this one should get you bubbling in no time!

        Meanwhile "Gentle Hell" is a dark n wavy dive into the mainframe; muffled sonar clicks and low tones guiding us through a murky electrostatic haze with no defined trajectory.

        As always, fiercely experimental yet deliciously listenable grooves from the Acido camp - big up's Andres Lõo! 


        STAFF COMMENTS

        Matt says: Another one of my favourite labels returns to its iconic 'rainforest house' sound. Andres Loo aligning chakras with the phenominal "Synaptic Sugar".

        TRACK LISTING

        A. Synaptic Sugar
        B. Gentle Hell

        John Dwyer, Ryan Sawyer, Wilder Zoby & Andres Renteria

        Gong Splat

          • Latest in quickly selling-out series of John Dwyer (OSEES frontman) with friends lock down experimentations and improvisations.

          • Featuring fantastic collage art by Dan Lean.

          • Recorded at Stu-Stu-Studio by John Dwyer in the peak of dope smoke lock down.

          What’s this? Today’s holiday gift? One final transmission from the core of the planet! Cresting slabs of concrete and powdered bone, rich soil—improvisation freak flag flitters atop a gutted highrise: Gong Splat. Featuring Ryan Sawyer on drums, Greg Coates on upright bass, Wilder Zoby on synth and mellotron, Andres Renteria on conga, bongos and hand percussion, and John Dwyer on guitar, synths, pan flute, cuíca, hand percussion, space drum and effects.

          This one is spitting fat and neon night-light city drives, white in the corner of the pilot’s mouth. Furry, fuzzy and frenetic, motorik and full of blood-rich ticks…maggots unite! There’s a show tonight! Welcome back humans.

          STAFF COMMENTS

          Barry says: You always know you're in safe hands with Dwyer & co, and this one is a brilliantly heavy swerve into eastern-influenced psychedelia via garage percussion and brain-melting avant-synth swells. Elsewhere loungy keys meet jazzy tentative drum fills. Predictably brilliant, entirely mad.

          TRACK LISTING

          1. Gong Splat
          2. Cultivated Graves
          3. Toagut
          4. Anther Dust
          5. Yuggoth Travel Agency
          6. Hypogeum
          7. Oneironaut
          8. Minor Protocides
          9. Giedi Prime

          Sufjan Stevens & Timo Andres

          The Decalogue

            Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

            The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

            Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

            A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

            2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”

            TRACK LISTING

            I
            II
            III
            IV
            V
            VI
            VII
            VIII
            IX
            X

            Randolph

            Not Gonna Let - Inc. Andres / Charles Webster Remixes

              New Mahogani Music twelve inch just in time to fill those stockings! Randolph is a bass player from Detroit, and as well as having two albums out on Still Music has featured on Jazzanova's "Funkhaus Studio Sessions". He has released on Still, Sonar Kollevtiv, KMS and Planet E. Here's he's joined by two of deep house's finest ambassaders, Charles Webster and Dez Andres, for a fresh EP of beatdown soul and bumpety house music for Moodymann's iconic label. "Not Gonna Let" kicks things off, remixed by Charles Webster. Murky, thick and heady, this is eyes-down, introspective soul music with just enough umph for slow, sexy dancefloors. Randolph hasn't creditted any extra vocalists on the 12", so we can only assume that it's him giving us these powerful, yearning passages. The OG puts Randolph's skilled bass work (along with his vocals) into focus. The funky, syncopated B-line complimeting the steady beatdown drums perfectly as Randolph's vocal smoothly slots in. On the flip, Andres gets to work on the track - turning out one of his stylishly executed, bumping slow house jams - fresh outta the MPC baby! Finally, short interlude / outro, "Peace" concludes with slick licks and soulful vocals jamming it out in a call and response style. No drums, just pure licks and vocals! Excellent stuff! More historic music from the motor city. Don't sleep. 

              TRACK LISTING

              A1. Not Gonna Let - Charles Webster Mix
              A2. Not Gonna Let
              B1. Not Gonna Let - Dez Andres Mix
              B2. Peace

              Far Out Monster Disco Orchestra

              Where Do We Go From Here? - Andrés / LTJ Xperience Remixes

                The Far Out Monster Disco Orchestra is Far Out’s in house Brazilian disco super group. The band features the arrangements of Azymuth’s late Maestro José Roberto Bertrami and the legendary Arthur Verocai alongside a host of other Brazilian musical icons. Having graced the most recent FOMDO 12” release with his signature touch, Detroit veteran Andrés (La Vida / Mahogani) returns on the imprint with an alternate take on the same track. Taking the classy disco cut ‘Where Do We Go From Here?’ into moodier, deeper territories, with freshly chopped vocals and a hazy hip-house bounce, it’s a warm late-night stepper, laced with classic OG Detroit funk. With a world renowned disco collection and over thirty years’ in the DJ and production game, Italy’s Luca Trevisi, aka LTJ Xperience (Irma), proves yet again just what a dab hand he is with an edit. Bringing out yet more colours and textures from the FOMDO original, his rework is pure sunshine-hedonism inducing disco magic, with just the touch of dubby hypnotics that might well cast some minds out to the Balearic Islands.

                Mia Doi Todd With Andres Renteria

                Morning Music

                "Morning Music" is the first album of instrumental music from Los Angeles - based songstress Mia Doi Todd. It was recorded and mixed by Todd at her Chateau des Chats studio using drum, harmonium, piano, tin whistle, tamboura, acoustic guitar, and bongos. On the tracks "Samai'I" and "Emotion", she is joined by Andres Renteria on cajon, piano, wooden stool, and udu. 'I started recording the tracks that became Morning Music while I was writing songs for my last album, Gea. Lyrics are the most challenging part of songwriting for me, and I enjoyed recording instrumental improvisations as a break from singing and songwriting. I was borrowing a friend's tamboura at the time, an Indian instrument shaped like a sitar but with no frets and only four strings, and I had just found my first harmonium, a small pump organ also from India. Classical Indian music is on many occasions one of my favorite things to listen to, and I started to experiment with these drone instruments and the transcendental experience they can produce while playing or listening to them. I had just finished a tour with the Swedish psychedelic rock band Dungen and was feeling the influence of their captivating melodies and great musicianship. I started playing the Irish tin whistle and using that as a melodic and emotional element instead of my voice, freeing me up from what felt like the confines of words. I began to edit and sculpt the recordings into a series of simple organic tunes. I gave the album to a few friends who enjoyed the calm and meditative attitude which it evokes. They also found the music very conducive to their creative endeavors. I am glad now to share the music with a larger audience.'


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